Nolwenn MINGANT and Cecilia TIRTAINE (eds), Reconceptualising Film Policies, London and New York: Routledge, 2017.

This volume explores and interrogates the shifts in film policies over the past thirty years. It assesses the logic that has traditionally guided policy-makers, while bringing to light the agency
of film professionals. It covers film industries from all over the world, foregrounding issues relating to geographical and economic integration, political regimes and new technologies. Featuring
chapters by leading and rising academics, in-depth case studies and interviews with practitioners and policy-makers, this book provides a timely overview of governments’ and industries’ responses
to the changing landscape of the production, distribution and consumption of films.

This guidebook, aimed at those interested in studying media industries, provides direction in ways best suited to collaborative dialogue between media scholars and media professionals.

While the study of media industries is a focal point at many universities around the world – promising, as it might, rich dialogues between academia and
industry – understandings of the actual methodologies for researching the media industries remain vague. What are the best methods for analysing the workings of media industries – and how does
one navigate those methods in light of complex deterrents like copyright and policy, not to mention the difficulty of gaining access to the media industries?

Responding to these questions, Industrial Approaches to Media offers practical, theoretical, and ethical principles for the field of media industry studies, providing its first full methodological exploration. It features key scholars such as Henry Jenkins, Michele Hilmes, Paul McDonald and Alisa Perren.

How do you sell English humour to a French audience? Could piracy actually be good for the film business? Why are the revolutionary technologies used in the making
of The Hobbit not mentioned in some adverts?

Exploring these questions and many more, Film Marketing into the Twenty-First Century draws on insights from renowned film scholars and leading industry
professionals to chart the evolution of modern film marketing.

The first part of the book focuses on geographical considerations, showing how marketers have to adapt their stratégies locally as films travel across borders. The
second covers new marketing possibilities offered by the Internet, as Vine, Facebook and other participative websites open new venues for big distributors and independents alike. Straddling
practical and theoretical concerns and including case studies and interviews that take us from Nollywood to Peru, this book provides an accessible introduction to the key issues at stake for film
marketing in a global era.

This book sheds new light on the relationship between conservative Christianity and Hollywood through a case study of Walden
Media, which produced The Chronicles of Narnia franchise. Financed by a conservative Christian, Walden Media is a unique American company producing educational and family-friendly films
with inspiring, moral, redemptive and uplifting stories.

However, there is more to Walden than meets the eye and the company reflects wider trends within contemporary American society.
Drawing on film industry data, film study guides and marketing campaigns targeting mainstream and conservative Christian audiences in the United States and abroad, this book reflects on Walden
Media’s first ten years of activity as well as on the relationship between Hollywood and conservative Christians, notably evangelicals, at the dawn of the twenty-first century. Though both worlds
are still wary of one another, this study shows that Walden Media films, and particularly The Chronicles of Narnia franchise, have tread a workable path between Hollywood and
‘Godlywood’, albeit within the constraints of the now global film business.

From the trailers and promos that surround film and television to the ads and brand videos that are sought out and shared,
promotional media have become a central part of contemporary screen life. Promotional Screen Industries is the first book to explore the sector responsible for this thriving area of
media production.

Through interview-based fieldwork with companies and practitioners based in the UK, US and China, Promotional Screen
Industries encourages us to see promotion as a professional and creative discipline with its own opportunities and challenges. Outlining how shifts in the digital media environment have
unsettled the boundaries of ‘promotion’ and ‘content’, the authors provide new insight into the sector, work, strategies and imaginaries of contemporary screen promotion.

With case studies on mobile communication, television, film and live events, this timely book offers a compelling examination of
the industrial configurations and media forms, such as ads, apps, promos, trailers, digital shorts, branded entertainment and experiential media, that define promotional screen culture at the
beginning of the twenty-first century.

William D. ROMANOWSKI, Reforming Hollywood: How American Protestants Fought
for Freedom at the Movies, Oxford: Oxford University Press, 2012.

Hollywood and Christianity often seem to be at war. Indeed, there is a long list of movies that have attracted religious
condemnation, from Gone with the Wind with its notorious "damn," to The Life of Brian and The Last Temptation of Christ. But the reality, writes William Romanowski, has been far more
complicated--and remarkable.

In Reforming Hollywood, Romanowski, a leading historian of popular culture, explores the long and varied efforts of
Protestants to influence the film industry. He shows how a broad spectrum of religious forces have played a role in Hollywood, from Presbyterians and Episcopalians to fundamentalists and
evangelicals. Drawing on personal interviews and previously untouched sources, he describes how mainline church leaders lobbied filmmakers to promote the nation's moral health and, perhaps
surprisingly, how they have by and large opposed government censorship, preferring instead self-regulation by both the industry and individual conscience. "It is this human choice," noted one
Protestant leader, "that is the basis of our religion." Tensions with Catholics, too, have loomed large--many Protestant clergy feared the influence of the Legion of Decency more than Hollywood's
corrupting power. Romanowski shows that the rise of the evangelical movement in the 1970s radically altered the picture, in contradictory ways. Even as born-again clergy denounced "Hollywood
elites," major studios noted the emergence of a lucrative evangelical market. 20th Century-Fox formed FoxFaith to go after the "Passion dollar," and Disney took on evangelical Philip Anschutz as
a partner to bring The Chronicles of Narnia to the big screen.

For almost three decades the big Hollywood studios have operated classics
divisions or specialty labels, subsidiaries that originally focused on the foreign art house film market, while more recently (and controversially) moving on to the American 'indie' film market.
This is the first book to offer an in-depth examination of the phenomenon of the classics divisions by tracing its history since the establishment the first specialty label in 1980, United
Artists Classics, to more contemporary outfits like Focus Features, Warner Independent and Picturehouse.

This detailed account of all classics divisions examines their business
practices, their position within the often labyrinthine structure of contemporary entertainment conglomerates and their relationship to their parent companies. Yannis Tzioumakis examines the
impact of those companies on American 'indie' cinema and argues that it was companies such as Fox Searchlight and Paramount Classics (now Paramount Vantage) that turned independent filmmaking to
an industrial category endorsed by the Hollywood majors as opposed to a mode of filmmaking practised outside the conglomerated major players and posed as a sustained alternative to mainstream
Hollywood cinema. A number of case studies are provided, including such celebrated films as Mystery Train, The Brothers McMullen, Broken Flowers, Before Sunset
and many others.

Explorations in New Cinema History brings together cutting–edge research by the leading scholars in
the field to identify new approaches to writing and understanding the social and cultural history of cinema, focusing on cinema’s audiences, the experience of cinema, and the cinema as a site of
social and cultural exchange.

- Includes contributions from Robert Allen, Annette Kuhn, John Sedwick, Mark Jancovich, Peter Sanfield, and
Kathryn Fuller–Seeley among others

- Develops the original argument that the social history of cinema–going and of the experience of cinema
should take precedence over production– and text–based analyses

- Explores the cinema as a site of social and cultural exchange, including patterns of popularity and taste,
the role of individual movie theatres in creating and sustaining their audiences, and the commercial, political and legal aspects of film exhibition and distribution

- Prompts readers to reassess their understanding of key periods of cinema history, opening up cinema
studies to long–overdue conversations with other disciplines in the humanities and social sciences

- Presents rigorous empirical research, drawing on digital technology and geospatial information systems to
provide illuminating insights in to the uses of cinema

Matthew ALFORD, Reel Power - Hollywood Cinema and American Supremacy,
London and New York: Pluto Press, 2010.

Hollywood is often characterised as a stronghold of left-liberal ideals. In Reel Power, Matthew Alford shows that it is
in fact deeply complicit in serving the interests of the most regressive US corporate and political forces.

Films like Transformers, Terminator: Salvation and Black Hawk Down are constructed with Defence
Department assistance as explicit cheerleaders for the US military, but Matthew Alford also emphasises how so-called 'radical' films like Three Kings, Hotel Rwanda and
Avatar present watered-down alternative visions of American politics that serve a similar function.

Reel Power is the first book to examine the internal workings of contemporary Hollywood as a politicised industry as well
as scores of films across all genres. No matter what the progressive impulses of some celebrities and artists, Alford shows how they are part of a system that is hard-wired to encourage American
global supremacy and frequently the use of state violence.

Matthew Alford has written for the Guardian, New Statesman and BBC radio. He has also lectured at the
Universities of Bath and Bristol.

Ben GOLDSMITH, Susan WARD, Tom O'REGAN, Local
Hollywood: Global Film Production and the Gold Coast, University of Queensland Press, 2010.

Hollywood films and television programs are watched all over the world. While many of these productions are still made in southern
California, the last 20 years has seen many productions made elsewhere in the US, in Canada and in locations around the world. New production centres have emerged and older centres have been
retooled and revitalised by migrating Hollywood production. The 'Global Hollywood' has been made possible by a growing number of local Hollywoods – locations equipped with the requisite
facilities, resources and labour, as well as the political will and tax systems to attract and host high-budget, Hollywood-standard projects.

Using the Gold Coast as a case study, this important new book shows how a combination of circumstances created our own outpost of
Hollywood in Australia. Forces in the US pushed Hollywood studios and producers to work outside California, while a unique situation in Queensland provided an attractive alternative home for
Hollywood productions with government tax support, an entrepreneurial business philosophy and a diverse natural environment.

Local Hollywood makes a much-needed contribution to the field of film and media studies, as well as being a fascinating
insight for all film buffs.

The explosion of transnational information flows, made possible by new technologies and institutional changes (economic, political
and legal) has profoundly affected the study of global media. At the same time, the globalization of media combined with the globalization of higher education means that the research and teaching
of the subject faces immediate and profound challenges, not only as the subject of enquiry but also as the means by which researchers and students undertake their studies.

Edited by a leading scholar of global communication, this collection of essays by internationally-acclaimed scholars from around
the world aims to stimulate a debate about the imperatives for internationalizing media studies by broadening its remit, including innovative research methodologies, taking account of regional
and national specificities and pedagogic necessities warranted by the changing profile of students and researchers and unprecedented growth of media in non-Western world.

Transnational in its perspectives, Internationalizing Media Studies is a much-needed guide to the internationalization of
media and its study in a global context.

Daya Kishan Thussu is Professor of International Communication at the University of Westminster in London. The founder and
Managing Editor of the journal Global Media and Communication, his key publications include News as Entertainment; Media on the Move; International
Communication, and Electronic Empires.

This volume addresses issues revolving around the production of mediated cultural products across borders. More specifically, the
authors consider cross-border cultural production in the film and television industries and how it affects and is affected by media centers, and, more recently, established production
locations.

The film and television industries have long been recognized as playing important economic, political and cultural roles. And
while it could be argued that, historically, these forms of cultural production often have been international endeavors, the choice of production sites has become an especially contentious issue
during the last few decades as global production has expanded. While some factions, notably from the US film and television industries, refer to this issue as "runaway production," this book
takes a much broader look at the implications and consequences of this phenomenon. Basically, cross-border production involves the expansion of production away from traditional centers, whether
to other countries or to other locations within the same country. Thus, this study covers a wide range of issues involving economic and political considerations, as well as creative and aesthetic
decision-making.

Janet Wasko is the Knight Chair for Communication Research at the University of Oregon (USA). She is the author of How
Hollywood Works (Sage, 2003), Understanding Disney: The Manufacture of Fantasy (Polity Press/Blackwell, 2001), and Hollywood in the Information Age: Beyond the Silver
Screen (Polity Press, 1994), editor of A Companion to Television (Blackwell, 2005) and Dazzled by Disney? The Global Disney Audience Project (Leicester University
Press/Continuum, 2001), as well as other volumes on the political economy of communication and democratic media.

James CHAPMAN, Cinemas of the World: Film and Society from 1895 to the
Present, London: Reaktion, 2003.

The cinema has been the pre-eminent popular art form of the 20th century. In Cinemas of the World, James Chapman examines
the relationship between film and society in the modern world: film as entertainment medium, film as a reflection of national cultures and preoccupations, film as an instrument of propaganda. He
also explores two interrelated issues that have recurred throughout the history of cinema: the economic and cultural hegemony of Hollywood on the one hand, and, on the other, the attempts of
film-makers elsewhere to establish indigenous national cinemas drawing on their own cultures and societies.

Chapman examines the rise to dominance of Hollywood cinema in the silent and early sound periods. He discusses the characteristic
themes of American movies from the Depression to the end of the Cold War especially those found in the western and film noir – genres that are often used as vehicles for exploring issues central
to us society and politics. He looks at national cinemas in various European countries in the period between the end of the First World War and the end of the Second, which all exhibit the formal
and aesthetic properties of modernism. The emergence of the so-called "new cinemas" of Europe and the wider world since 1960 are also explored.

"Chapman is a tough-thinking, original writer (...). An engaging, excellent piece of work." - David Lancaster, Film and
History.